Trailers – Summary & Buzz: Film Openings USA –August 19 ,  2016… |

Trailers – Summary & Buzz: Film Openings USA –August 19 ,  2016…

August 19

Kubo and the Two Strings (2016)

Kubo and the Two Strings

  • Focus Features

rated-PG   –   Animation | Adventure | Family | Fantasyrated-thumbs-UP+DOWN_2

A young boy named Kubo must locate a magical suit of armor worn by his late father in order to defeat a vengeful spirit from the past.
Summary: Clever, kindhearted Kubo ekes out a humble living, telling fantastical stories to the people of his seaside town. But his relatively quiet existence is shattered when he accidentally summons a mythical spirit from his past which storms down from the heavens to enforce an age-old vendetta. Now on the run, Kubo joins forces with Monkey and Beetle and sets out on a thrilling quest to save his family and solve the mystery of his fallen father, the greatest samurai warrior the world has ever known. With the help of his shamisen – a magical musical instrument – Kubo must battle gods and monsters, including the vengeful Moon King and the evil twin Sisters, to unlock the secret of his legacy, reunite his family and claim his heroic destiny

Travis Knight


Charlize Theron, Art Parkinson, Ralph Fiennes, George Takei

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 BY OLEG IVANOV | Slant Magazine

Fairy tales originate from the need to explain a violent, dangerous, and fundamentally irrational world to children who’ve yet to experience it. Like religion, they transmit social taboos and ethical codes, only in the guise of entertainment. As early as Plato, social thinkers understood the power of these tales to instill ideology. The philosopher required that the guardians (philosopher-warriors) of his imaginary republic be taught useful lies about Greek heroes and gods as part of their education, lies that cast them as fierce role models worthy of emulation by the authoritarian guardians. While Plato had in mind a proto-fascist utopia based on the military dictatorship of Sparta, the makers of Kubo and the Two Strings have conceived a similarly violent world in order to impart to young viewers a gentler ideology, in line with our society’s benign multiculturalism, about coping with grief and loss.

The film follows an artistically gifted orphan, Kubo (Art Parkinson), on a quest for of a magical suit of armor that will help him defeat his evil grandfather, the Moon King (Ralph Fiennes), who killed Kubo’s father and forced his mother to take him into hiding with her. At the beginning of the film, Kubo’s mother is slowly losing her memory along with her magical powers, the last of which she expends to save Kubo from the clutches of her evil sisters (all voiced by Rooney Mara), the Moon King’s henchwomen. As Kubo comes to terms with the loss of his parents and the emotional trauma of familial conflict over the course of his journey, he introduces the children in the audience to issues that they, too, may one day have to face: the deterioration of their parents’ physical and psychological health, the deaths of their loved ones, and the dissolution of their families.

It offers a powerful metaphor for the manner in which we carry the memories of our departed inside ourselves.

An American production, this stop-motion animated film is set in a fantastical vision of medieval Japan, forming part of a rich history of combining occidental and Japanese literary and theatrical traditions in order to look at both cultures anew. As when Akira Kurosawa set Shakespeare’s plays in medieval and modern Japan and American filmmakers remade Japanese films as westerns, Kubo and the Two Strings employs a Japanese setting to show American (and other foreign) audiences a different way of conceptualizing death, mourning, and memory. In presenting a metaphysical conception of the afterlife inspired by Shinto and Buddhist traditions, the film offers a powerful metaphor for the manner in which we carry the memories of our departed inside ourselves, one that both complements and provides a compelling alternative to Judeo-Christian beliefs on the subject.

Rather than simply appropriating Japanese customs and visual traditions, the film uses its foreign setting to show how creatively and intellectually productive such cross-cultural communication can be for both sides. For example, though they wear Noh masks that are appropriate to the story’s folk motifs, Kubo’s evil aunts are nevertheless closer to the Furies of pagan Greek tradition. Unlike that of many similar Disney films, Kubo and the Two Strings‘s cross-cultural exchange does the native traditions justice while lucidly explicating them to an occidental audience.

On a formal level, the combination of old-fashioned stop-motion animation and cutting-edge CGI endow the film with a lush materiality, at once fluid and deeply corporeal. Complementing the film’s symbolic promotion of maintaining traditional practices in the modern world, this mixture of old and new technology mirrors Kubo’s magical use of origami puppet theater to bring his own past to life. Presenting his puppetry as a kind of proto-cinema, the film uses state-of-the-art animation techniques to celebrate the low-tech traditions that paved the way for modern cinema.

From the interior of a frozen whale carcass to a haunted fortress and a riverside graveyard illuminated by the souls of the dead, the story’s diverse backdrops are rendered with meticulous care, providing lushly detailed settings for the film’s many inventive fight sequences. These scenes, featuring ingeniously designed gods and monsters, bring to mind the films of stop-motion pioneer Ray Harryhausen, as well as the myths and folk stories that inspired his work. Like the divine musicians in many of those myths, whose music tamed wild beasts and overpowered their enemies, the true source of Kubo’s power is his shamisen, the most electrifying musical armament this side of the flamethrowing guitar from Mad Max: Fury Road. Kubo’s music is his greatest weapon in his fight against the powers that tore his family apart, an apt metaphor for the film’s underlying message about art’s ability to provide personal healing while treating larger social wounds.

Ben-Hur (2016)


  • Paramount Pictures

rated-PG13   –   Adventure | Drama | Historyrated-under-review_1

The epic story of Judah Ben-Hur (Jack Huston), a prince falsely accused of treason by his adopted brother, an officer in the Roman army. After years at sea, Judah returns to his homeland to seek revenge, but finds redemption.
Summary: Ben-Hur is the epic story of Judah Ben-Hur (Jack Huston), a prince falsely accused of treason by his adopted brother Messala (Toby Kebbell), an officer in the Roman army. Stripped of his title, separated from his family and the woman he loves (Nazanin Boniadi), Judah is forced into slavery. After years at sea, Judah returns to his homeland to seek revenge, but finds redemption.

Timur Bekmambetov


Jack Huston, Toby Kebbell, Rodrigo Santoro, Nazanin Boniadi

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War Dogs (2016)

War Dogs

  • Warner Bros

rated-R   –   Comedy | Drama | Warrated-under-review_1

Based on the true story of two young men, David Packouz and Efraim Diveroli, who won a $300 million contract from the Pentagon to arm America’s allies in Afghanistan.
Summary: Two friends in their early 20s (Jonah Hill and Miles Teller) living in Miami Beach during the Iraq War exploit a little-known government initiative that allows small businesses to bid on U.S. Military contracts. Starting small, they begin raking in big money and are living the high life. But the pair gets in over their heads when they land a 300 million dollar deal to arm the Afghan Military—a deal that puts them in business with some very shady people, not the least of which turns out to be the U.S. Government.

Todd Phillips


Jonah Hill, Miles Teller, Steve Lantz, Gregg Weiner

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Morris from America (2016)

Morris from America

  • A24

rated-R   –   Comedy | Drama | Romancerated-thumbs-UP+DOWN_2

Metascore: 72/100 (9 reviews)
The romantic and coming-of-age misadventures of a 13-year-old American living in Germany.
Summary: Morris Gentry (Markees Christmas) is a 13-year-old who has just relocated with his single father, Curtis (Craig Robinson) to Heidelberg, Germany. Morris, who fancies himself the next Notorious B.I.G., is a complete fish-out-of-water—a budding hip-hop star in an EDM world. To complicate matters further, Morris quickly falls hard for his cool, rebellious, 15-year-old classmate Katrin. Morris sets out against all odds to take the hip-hop world by storm and win the girl of his dreams.

Chad Hartigan


Craig Robinson, Carla Juri, Lina Keller, Markees Christmas

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by Boyd van Hoeij | The Hollywood Reporter

Markees Christmas stars as the eponymous 13-year-old African-American kid in Germany in this new film from Sundance alumnus Chad Hartigan (‘This is Martin Bonner’).

As if being a slightly overweight 13-year-old with a single dad isn’t complicated enough, the title character in Morris From America is also the only African-American kid in the provincial town of Heidelberg, Germany, where his father works. Though another character study about outsiders from writer-director Chad Hartigan — after 2013’s This is Martin Bonner, about a middle-aged Australian father in Reno — this feature skews younger and as a result is a lot bouncier and ups the sweetness factor, even despite the frequent use of adult language (mostly due to the protagonist’s age-inappropriate infatuation with explicit rap lyrics). Mostly lighthearted and, especially in its closing reels, rather clichéd, the character-driven film nonetheless manages to gently resist the temptation to turn into a full-throttle and heart-warming crowdpleaser, which means niche biz is more likely than a huge commercial breakout.

Rather unexpectedly, shy Yank Morris (newcomer Markees Christmas) gets to talking to blond cutie Katrin (Lina Keller), a 15-year-old local girl, who asks him how old he is after she’s caught him following her around. After stating he’s also 15, she says she doesn’t believe him. Barely a few seconds later, he admits to being 14 and then 13. Perhaps it’s this awkward honesty, as well as his status as an exotic outsider, that intrigues Katrin, who starts hanging out with him. An invitation to a party she’s also attending, however, ends with Morris getting “his dick wet,” as he later tells it, because she unexpectedly pointed a water pistol at his groin area.

Like many boys his age, Morris is reserved around the older girl, both fascinated and intimidated. Indeed, his complicated relationship with the passive-aggressive — or is it just foreign? — Katrin represents, in a larger sense, Morris’ relationship with the outside world. Though the situations involving Katrin are occasionally overly familiar, the way in which Christmas embodies his character’s unease always feels genuine.

Morris tends to be more relaxed around his father, Curtis (Craig Robinson), who’s got his heart in the right place and who’s doing a decent job of raising the boy on his own in a foreign country. Morris also feels strangely at home at the house of Inka (Carla Juri), his German-language tutor, who, despite Morris’ presumption that she’s 40, looks more like she’s in her late 20s, supersized granny spectacles notwithstanding. Inka is like an amalgamation of a surrogate mother and an older friend, keeping an eye out for Morris when needed while teaching him useful things both in German and in general. But in one of Hartigan’s several keenly observed relationship details that ring true, Curtis is a bit territorial about his kid when Inka comes to him with what she thinks is disturbing information about Morris. Thankfully, this isn’t the kind of film where any adults will fall in love.

Hartigan develops his title character through contrasting his relationships with the two people with whom he feels at home on the one hand and the crush-worthy Katrin (and the outside world) on the other. Along the way, the writer-director explores how adolescence and coming into your own has a lot to do with becoming comfortable with yourself no matter who you might be interacting with. This, of course, involves Morris trying to find role models and trying on different personalities for size, including those of gangsta rappers whose bling- and sex-obsessed lyrics have nothing to do at all with Morris’ life as a rotund 13-year-old black kid in Heidelberg, as his father rightfully underlines.

Hartigan manages to squeeze some humor out of this clear disconnect, but at times pushes things into the realm of the implausible, such as when Morris uses his own rudimentary rap lyrics— in which “hos” rhymes with “death row” — in a talent contest. Both Inka and his father have already made a stink about the lines, and seeing how timid and uncomfortable Morris is in front of people he doesn’t know well, it seems unlikely he’d choose to sing these clearly controversial lyrics in front of a group of kids that includes some who’ve been openly picking on him.

The film’s excuse for his behavior (later also repeated at a rather unlikely club performance in Frankfurt) is that he wants to continue to impress Katrin. But her necessarily contradictory character and Morris’ relationship with her are too sketchily developed to get a sense of what especially Katrin wants out of their relationship. A wordless scene involving her cardigan and a pillow, on the other hand, make graphically clear in no uncertain terms what Morris dreams to get out of it, even if Hartigan and Christmas have by that time made it it obvious that the 13-year-old lead is much more comfortable dreaming about it at this stage rather than actually doing it.

The film’s exploration of stereotypes about Americans and especially African-Americans is mostly a source of facile humor, such as when the young and innocent Katrin is surprised when her new black friend doesn’t dance or play basketball and then goes on to ask him about the size of his manhood. Even though several German adults are clearly prejudiced as well, Hartigan never quite seizes the opportunity to cast father and son’s even more pronounced outsider status in Germany as a way to explore or comment on the black experience back home. Instead, he prefers to stay close to his characters, embodied by impressive newcomer Christmas, whose performance becomes less self-conscious as the film progresses, and a warmly paternal turn from Robinson (The Office, Hot Tub Time Machine), effectively cast against type here.

Visually and in terms of its musical choices, the film also likes to stay close to the main protagonist, adopting a slick, at times almost music video-like aesthetic, with occasional high-angle shots, fast cuts and crisp, fluidly choreographed Steadicam work. A standout is an early, wordless sequence in which a visit to the somewhat stuffy Heidelberg castle turns into a discreet hip-hop party in Morris’ imagination. Like much of the film, it doesn’t exactly feel new but it is well executed and is in service of the characters, with the sequence suggesting both the importance of music for Morris as well as his need to escape from the day-to-day numbness.


Lo and Behold, Reveries of the Connected World (2016)

Lo and Behold: Reveries of the Connected World

  • Magnolia Pictures

rated-PG13   –   Documentary

Metascore: 77/100 (10 reviews)
Werner Herzog’s exploration of the Internet and the connected world.rated-thumbs-UP+DOWN_2
Summary: Werner Herzog chronicles the virtual world from its origins to its outermost reaches, exploring the digital landscape with the same curiosity and imagination he previously trained on earthly destinations as disparate as the Amazon, the Sahara, the South Pole and the Australian outback. Working with NetScout, a world leader in real time service assurance and cybersecurity, Herzog leads viewers on a journey through a series of provocative conversations that reveal the ways in which the online world has transformed how virtually everything in the real world works – from business to education, space travel to healthcare, and the very heart of how we conduct our personal relationships.

Werner Herzog


Lawrence Krauss, Kevin Mitnick, Elon Musk, Lucianne Walkowicz

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By Tim Grierson, Senior US Critic | ScreenDaily

Examining the internet not as blessing or curse but simply as a staple (and reflection) of modern life, Lo And Behold, Reveries Of The Connected World is a modestly profound and consistently fascinating musing.

Much like the world wide web itself, the documentary seems to stretch out in lots of different directions, offering much to consider and plenty to absorb.

Unconcerned about delivering any sort of definitive exegesis on an impossibly complicated subject, documentary filmmaker Werner Herzog instead happily ambles around, speaking to hackers and radio astronomers, entrepreneurs and web historians, to get a sense of how the internet has shaped our lives in ways great and small. As is often the case with Herzog’s films, Lo And Behold features colourful characters and a playfully cosmic spirit of awe, but the movie can also be incredibly moving and sobering.

Debuting at the Sundance Film Festival, Lo And Beholdshould appeal to Herzog’s fans, although that audience could expand because of the topical subject matter, provoking coverage from tech-centric media outlets and scientific publications. (Even concerned-parents groups may be interested due to the documentary’s portrayal of the internet’s invasive dangers.) Good reviews and strong festival play should translate into decent theatrical business.

Divided into chapters, Lo And Behold offers no grand thesis, merely offering a collection of diverse talking heads who speak about their own experiences with the internet. (Appropriately, the documentary begins with Leonard Kleinrock, a computer scientist who was at UCLA in 1969 when the internet was, essentially, invented.) Although Lo And Behold addresses the disturbing downsides of an interconnected society, Herzog is largely in a more light-hearted, philosophical mode, veering closer to the contemplative, hushed tone of Cave Of Forgotten Dreams than the stark moral seriousness ofInto The Abyss, which dealt with America’s death penalty system).

One suspects that experts in, say, artificial intelligence or internet ethics — merely two of the topics touched upon in Lo And Behold — will be frustrated that Herzog jumps around from issue to issue rather than doing a deep dive into any specific one. But that criticism would miss the director’s desire to conduct a broad overview of our evolving online existence.

Herzog clearly wants to begin a conversation about how we, as people, start to come to terms with the fact that the internet is rewriting social norms while making us more and more dependent on its technology for even the most basic of services. (One of the film’s best sections concerns an examination of how everything from solar flares to catastrophic natural disasters could cripple essential infrastructure which is now reliant on the internet.)

True, any of Lo And Behold’s 10 chapters could be expanded into its own feature-length documentary, but Herzog’s glancing blows at different issues result in a film that’s thought-provoking and pleasingly open-ended. Many of Herzog’s documentaries are, at their core, reveries about what it means to be human, and Lo And Behold is no different, providing him the launching pad to discuss everything from manned trips to Mars to the elusive nature of falling in love. Above all, the film seems to be a necessary acknowledgment of how little we think about our growing online world. In this regard,Lo And Behold’s buffet-style discourse calls attention to the many conversations we aren’t having about this ubiquitous, powerful, still nascent tool.

Although the film is presented by NetScout, a cyber security company, the director makes sure to include both the best and worst tendencies of the internet, showing us remarkable innovations produced by far-flung individuals but also shining a light on some who have been victimised by or addicted to online communities. (In a poignant digression, Herzog even visits a tiny town where there is no internet, the city’s inhabitants shunning the technology because they believe its radiation is making them sick.)

In the past, Herzog has sometimes set his interview subjects up to be oddball laughingstocks, but Lo And Behold avoids the freak-show exhibitionism to give us a compassionate menagerie of thinkers, scientists and ordinary men and women who, because of the web, are more connected now than they would have been at any other time in human history. That’s a quiet but impactful point made by Lo And Behold, and it’s not the only one. Much like the world wide web itself, the documentary seems to stretch out in lots of different directions, offering much to consider and plenty to absorb.

Kingsglaive- Final Fantasy XV (2016)

Kingsglaive: Final Fantasy XV

rated-PG13   –   Animation | Adventure | Drama | Fantasy | Sci-Firated-under-review_1

The magical kingdom of Lucis is home to the hallowed Crystal, but the menacing empire of Niflheim will stop at nothing to make it theirs. War has raged between the two for as long as most can remember. King Regis of Lucis commands an elite force of soldiers dubbed the Kingsglaive. Wielding their king’s magic, Nyx Ulric and his fellow glaives stand before the crown city of Insomnia, fighting to stay the inexorable advance of Niflheim’s imperial army. Before the overwhelming military might of the empire, King Regis can only salvage his kingdom by accepting an ultimatum-he must cede all lands outside the crown city, and see his son, Prince Noctis, wed to Lady Lunafreya, the former princess of Tenebrae now captive of Niflheim. As the war of wills rages, the machinations of Niflheim transform Insomnia into an awe-inspiring battleground, pulling Nyx into a struggle for the very survival of the kingdom.
Summary: The magical kingdom of Lucis is home to the sacred Crystal, and the menacing empire of Niflheim is determined to steal it. King Regis of Lucis (Sean Bean) commands an elite force of soldiers called the Kingsglaive. Wielding their king’s magic, Nyx (Aaron Paul) and his fellow soldiers fight to protect Lucis. As the overwhelming military might of the empire bears down, King Regis is faced with an impossible ultimatum – to marry his son, Prince Noctis to Princess Lunafreya of Tenebrae (Lena Headey), captive of Niflheim, and surrender his lands to the empire’s rule. Although the king concedes, it becomes clear that the empire will stop at nothing to achieve their devious goals, with only the Kingsglaive standing between them and world domination.

Takeshi Nozue


Aaron Paul, Lena Headey, Sean Bean, Neil Newbon

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Lo Stato contro Fritz Bauer (2015)

The People vs. Fritz Bauer / / Lo Stato contro Fritz Bauer

  • Cohen Media Group

rated-R   –   Biography | Drama | Thrillerrated-thumbs-UP+DOWN_2

The story of the man who brought high-ranking German Nazi criminal Adolf Eichmann to justice.
Summary: Germany, 1957. Attorney General Fritz Bauer receives crucial evidence on the whereabouts of SS-Obersturmbannführer Adolf Eichmann. The lieutenant colonel, responsible for the mass deportation of the Jews, is allegedly hiding in Buenos Aires. Bauer, himself Jewish, has been trying to take crimes from the Third Reich to court ever since his return from Danish exile. However, with no success so far due to the fierce German determination to repress its sinister past. Because of his distrust in the German justice system, Fritz Bauer contacts the Israeli secret service Mossad, and, by doing so, commits treason. Bauer is not seeking revenge for the Holocaust — he is concerned with the German future.

Lars Kraume


Rüdiger Klink, Burghart Klaußner, Andrej Kaminsky, Jörg Schüttauf

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By Matthew Anderson |

Given the subject and its original title, Lars Kraume’s The People vs. Fritz Bauer (2015) pits the irascible and implacable attorney general against the West German state, rather than its people, which would be more accurate from both a linguistic and narrative point of view. Cantankerous and belligerent but driven by a burning determination to bring war criminals to justice, the renowned lawman (Burghart Klaußner) was persistently thwarted by an establishment not ready to face Germany’s actions in World War II. Bauer proclaims early on that he “likes hunting, but not for animals”. In a less violent but equally vindictive manner as Inglorious Basterds’ Aldo Raine, Bauer is on the hunt for Nazis.

Making things more difficult for Bauer, in the late 1950s many Nazis had taken up residence in South America, some even worked for Mercedes-Benz but a large number held positions of authority in Konrad Adenauer’s government, secret service and police. Were they above the law? Fritz Bauer certainly didn’t think so. Unafraid to bite that hand that fed him in spite of threats against his life, Bauer went for the biggest fish of them all. The People is a film chronicling his role in the search for Adolf Eichmann, former SS lieutenant-colonel and one of the main proponents of the Nazis’ Final Solution, responsible for coordinating the deportation of Jews to camps in Eastern Europe.

Constantly fed misinformation and led down blind alleys by colleagues with skeletons in closets, Bauer made the treasonous move of enlisting the help of Mossad in pursuing and apprehending Eichmann in Argentina. His role in the Israeli operation – as end notes inform us – would not be made public until a decade after his death but The People vs. Fritz Bauer is a fitting tribute to a brave and forthright champion for the truth, centred around a fine performance by a gruff, white-haired and horn-rim bespectacled Klaußner who chain smokes cigars à la Winston Churchill throughout. Unfortunately, where The People strays into somewhat murky territory is in the semi-fictionalised subplot of a shady past which encroaches on the present. A Danish arrest warrant – Bauer lived in both Denmark and Sweden between 1935 and 1949 – for soliciting male prostitutes is initially threatened as leverage but then miraculously forgotten. Conveniently, the young lawyer, Angermann (Ronald Zehrfeld), who shares similarly honourable juridical values and is enlisted to help, also shares his mentor’s proclivities for extra-marital affairs with transvestites.

Sticking to the momentous task that the two men undertake, and further developing Bauer’s socialist past and time spent in a concentration camp besides fleeting allusions, would have provided the director with more than enough material and this departure felt like an unnecessary contrivance to personalise, or perhaps sensationalise, the story. Kraume’s picture is nonetheless an engaging, if not riveting, watch. The pacing is methodical but breakthroughs in the case and anxious moments where all is feared lost generate real tension. The jazz-based soundtrack adds an almost film noir edge to sinister proceedings and the period set design and costume are superb. Speaking in the grainy library footage which opens The People, Bauer compares a nation’s history to night and day, darkness and light, evil and good. Contemporary Germany certainly finds itself in the latter half of each antonym but films such as this – as well as Labyrinth of Lies, which featured at TIFF last year – demonstrate that the process of healing, of confronting the shame of history and accepting the ills of former generations can take lifetimes. It’s lucky for us that principled men like Bauer got the ball rolling long ago.
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Confrontando la información, - el pasado y el presente...
"Estudia el pasado si quieres pronosticar el futuro" (Confucio)
“La historia es en realidad el registro de crímenes, locuras y adversidades de la humanidad” (E. Gibbon)